Musings on Film ~ a personal cinema study project
Film critic Roger Ebert once wrote, "We go to different movies for different reasons, and greatness comes in many forms." I truly like that, as I enjoy a range of films from mass market blockbusters to Hollywood classics and anime, but have always wanted to learn more about films of a more artistic nature. I think it's important for a cinema fan to have seen and thoughtfully developed an informed opinion on the movies that are most universally considered the best examples of the art of film.
In late 2012 I researched various sources to compile a personal must-see list; my process is explained here. After many interruptions, I did finish the films in my list in mid-2022. I watched most of them at least twice, read analyses, and explored DVD/Blu-ray supplements. This site consists of spoiler-filled personal notes that I wish to remember from this project. As I began I wondered if some of the films might be too deep, too intellectual, or too abstract for me. I did find a few of these truly incomprehensible and/or uninteresting, but the vast majority are fascinating works that I found rewarding. I have discovered films that are amazing, some that I admire but don't love, some that I will re-watch for the rest of my life, and some in which I saw greatness but feel no need to see again. After all, to quote Ebert again: "all film criticism is subjective and there is no right or wrong." Below is my most recent entry, with previous posts linked in the right hand column. The About This and Film Lists links give more details about this project and my lists. The Project: Extra Short TakesIn creating my initial study list there were additional films that would have been next on my list, so I'm going to post some brief annotations on some of them as well. These additional films on my list would have been:
104. Cache (Hidden) ~ Michael Haneke I bought this DVD at a used media store, but found it uninteresting despite its winning Best Director at Cannes in 2005. Maybe I just don't "get" Haneke yet. I traded the disc back to the store. 105. La Strada (The Road) ~ Federico Fellini (1954) I really liked this semi-early Fellini. It's considered a transitional work from his Neo-Realist period into his full 1950s style, and includes his amazing wife Giulietta Masina in the lead role along with a great Nino Rota score. It won the first official Foreign Language Film Oscar. However, it is still an early 1950s Italian film, where life is hard and there are no happy endings. Life is an absurdist carnival, a struggle to survive in the face of cruelties. 106. Satantango ~ Bela Tarr (1994) I gradually viewed over several days this 7+ hour-long Hungarian magnum opus described by Criterion as "one of the towering achievements of modern cinema." Tarr uses interminable, mind-numbing long takes to show the horrific, desperate life in a village that has degenerated into depression and deep apathy. Supposedly the beyond-slow pace helps us understand and experience the lives of the villagers. It did make me totally depressed and apathetic—toward the film. This one did NOT connect for me. The remaining members of a farming collective attempt to leave, but when they do so they are duped by a charismatic priest-like figure into pooling their money, which he steals. The film begins with an eight minute unbroken shot of cows wandering out of a barn and meandering into a field. One review I read described this as showing that even the cows are able to wander as they wish, a freedom denied to the humans in this dying village. Another reviewer described the film as "a parable about the intoxicating and dangerous allure of ideology and the mass movement, whether it be guised in the rhetoric of capitalism, communism or Christianity." Indeed, they are let down by everything in the system. So, not a film that connected for me. 107. Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles ~ Chantal Ackerman (1975) I had already viewed this film a couple of years ago. It's a famous feminist film that shows the drudgery of life for many women. We watch a woman shopping for food, making meatloaf, eating dinner with her son, and doing very little else. There is a supremely nonsexual scene of her showering, and a succession of men come to the apartment for similarly bland, uninvolved sex for pay. No indication is given for how she arranges the mens' visits. Finally, one client actually manages to connect with her enough to give her an orgasm, and this shatters her carefully controlled life so much that she immediately kills him. Seemingly in shock, she leaves him in her bed, and the film ends with her blankly drinking coffee in a 2-3 minute unbroken shot with only traffic sounds in the background. I think it means that many women are confined in a patriarchal system where they are only allowed to cook, clean, have sex, and bear children. They are not in control, and are relegated to a life akin to imprisonment. Unlike many experimental films, I actually found it a fascinating statement that was perfectly expressed via the medium of cinema. It was not what I would consider an "entertaining" watch, but I could certainly appreciate the artistic intent. L'Histoire du Cinema ~ Jean-Luc Godard (1998) The only way I can find to watch this infamous ten-year personal project by Godard is through a Mubi subscription. I may do that one day, but not for now. La Jetee ~ Chris Marker (1963) This is a fascinating, experimental, 28 minute short film depicting a dystopian future after the world is devastated by nuclear war. Told in striking black and white still photos with narration and orchestral music, it tells of surviving scientists experimenting with time travel in hopes of finding help in either the past or future. Finding a likely candidate among a group of prisoners, they use extended sensory deprivation to free his mind from the present. He begins to live in his memories and eventually this blurring of reality allows him to live first in the past, then in the future where he asks for help for his people from the humans of the future. They provide him a new power source that would jumpstart the industry of his day and even offer to let him live with them in the future. He asks instead to be sent to the past to connect with a woman he had met there. However, he had been a mere tool for the scientists of his day, and to close off any chance of his future time travel he was put to death. Even with the disappointment of the tragic ending, I found it amazingly effective, engaging, and poignant. The film is influenced by the dreamlike sequences in Vertigo, and Terry Gilliam's 12 Monkeys is essentially a re-imagining of this film. There is even a bar in Tokyo named for the film and decorated with images from it. Marker also made AK, a documentary on the making of Kurosawa's Ran. Paths of Glory ~ Stanley Kubrick (1957) OK, this one is fantastic. I gave it the full treatment—watched my Criterion blu-ray, the commentary, and every supplement. Considered by many to be one of the best anti-war films ever made, it's loosely based on true events from the French and Belgian armies in World War I. It shows incompetent generals who make disastrous decisions that lead to wanton loss of life. They do this for their own advancement with no remorse for the lives wasted. When their actions are discovered, they lie to protect their high positions and decide to execute a few innocent men as examples and to "build morale." An early Stanley Kubrick picture, he and his producer had trouble getting the film made until they got Kirk Douglas to sign on, and his star power helped procure the funding. Douglas is great as Dax; a colonel who had been a lawyer in his prior civilian life and who does his best to protect his men from the higher-ups in the command chain. There were many memorable scenes: the pre-steadicam tracking shots through the miserable trenches, the battle scene that focuses on individual men rather than spectacle and fast cutting. I especially loved the ending, which poignantly interrupts the raucous activity of a bar by forceing the men to think about those whom they have left behind and why they fight for them. In fact, that final sequence with the tearful singer where Kubrick focuses primarily on the faces of the men is one of my most favorite endings in all of cinema. Kubrick was a young director and was worried about the dark ending being too much for audiences, but Douglas insisted a traditional happy ending was not appropriate, and he was right. I'm sure a more experienced Kubrick would have added a few more nuances and subtleties, but it's a tightly written, filmed, and directed film—an A+ for me—and is widely considered his first masterpiece. Interesting notes from the blu-ray supplements: a quote from one of his long term producers said that although Kubrick's film career at first glance seems to range widely in style and environment, upon further consideration his overarching theme was the expression of pessimism about humanity. We usually are our own worst enemy, and Kubrick's body of work could be summed up as a scathing look at human folly in its many forms. In the excellent commentary on the Criterion blu-ray critic Gary Giddins agrees with a Kubrick biographer who wrote that Paths of Glory is not obsessively anti-war but is rather focused on power, class, and manipulation. Kubrick shows that much of the absurdity of war is due to the "extension of these human instincts" to war. Giddins also notes Kubrick's frequent inclusion of war and battles in his later films, but again usually showing that the horror of war was an extreme environment that reveals the true character of men. Kubrick once said in an interview that in a wartime setting, "attitudes crystallize and come out into the open." The film still seems striking today, but was quite unusual and innovative in 1957. It came well before such 1960s absurdity-of-war films as Slaughterhouse Five, Catch 22, M*A*S*H, and of course Kubrick's own Dr. Strangelove. Coming out only 12 years after WWII it was a pretty strong statement for audiences and not a box office success, but it probably paved the way and was an influence on the films mentioned above. By the 1960s with Vietnam in play, a younger generation was all too ready for strong critiques of war. Finally, the title of the film came from a stanza in Thomas Gray's famous poem Elegy Written in a Country Churchyard. As the unnamed visitor to a graveyard ponders those who are interred there, he speaks of how he is reminded of wasted lives and unfulfilled potential. The boast of heraldry, the pomp of pow'r And all that beauty, all that wealth e'er gave Awaits alike th'inevitable hour, The paths of glory lead but to the grave. Kes ~ Kenneth Loach (1969) This is a powerful film graphically showing the tough life of working class Britons in the late 1960s. It's well made and poignant, but you just ache for Casper, the protagonist. He is a young boy who is sometimes his own worst enemy, is not well liked, is often picked on by classmates and teachers, and has little to look forward to except following his family into a downtrodden life as a miner. He also has an adopted adult brother who is the major bane of his existence Just when he finds a true talent and love for training a kestrel in the nearby woods, his family and his own mistakes lead to even that being taken away from him. I found it good, not great, and a tough watch, although I am probably missing a nostalgia factor that has made it consistently voted one of the top 5 British films of all time. Not a rewatch for me, but I recommend it to anyone who is a cinema fan, especially of the 1960s British realism movement. North by Northwest Another favorite Hitchcock film, notes on this are forthcoming. |
My Study List...
1. Vertigo (1958) Hitchcock - 2012 Critics Poll #1 - The current most universally acclaimed film by critics and directors. A 2. Tokyo Story (1953) Ozu - 2012 Directors Poll #1 - a profound view of the cycle of life: quiet, sad, universal, and devastating. A+ ============ 3. Citizen Kane (1941) Welles - For decades rated the best film of all time, it's simply a masterpiece in every aspect of filmmaking. A+ 4. 2001: A Space Odyssey (1968) Kubrick - Innovative, mesmerizing, awe-inspiring. A 5. Apocalypse Now (1979) Coppola - the most recent film in the list, it's an incredible journey on many levels. A ============ 6. Persona (1966) Bergman - experimental, stunning imagery, very unusual but excellent. A 7. The Rules of the Game (1939) Renoir - a devastating look at the decadence of the French aristocracy - masterful filmmaking. A+ 8. Sunrise (1927) Murnau - groundbreaking camera and visual innovations, one of the highest achievements of silent film. A 9. Rashomon (1950) Kurosawa - the first global recognition for Japanese films, this is brilliant in many ways. A+ 10. Au Hasard, Balthazar (1966) Bresson - quiet, understated view of the best and worst of mankind, and the nobility in enduring suffering. This one did not make a connection for me. C ============ 11. La Dolce Vita (1960) Fellini - a lost man chasing the fast life in Rome. I loved the characters but wanted them to wake up and stop pursuing such an empty life. B 12. Raging Bull (1980) Scorcese - great acting, innovative camera work, but I'm just not interested in watching a man abuse his family, verbally and physically. C 13. The Searchers (1956) Ford - great story, visuals, camera work - the highest rated of all Westerns. A+ 14. 8 1/2 (1963) Fellini - a fascinating look at the nature of creativity and the three ring circus that is moviemaking. A+ 15. Breathless (1960) Godard - a daring work which foreshadowed independent films, "modern movies begin here" (Ebert). A+ 16. Godfather I (1972) Coppola - one of the greatest American films despite its violence. A 17. L’Atalante (1934) Vigo - a visionary filmmaker with a unique style, Vigo's short life proved highly influential. A+ 18. Seven Samurai (1954) Kurosawa - masterful cinema, yet a popular favorite as well. A+ 19. Ordet (1955) Dreyer Difficult to watch, but very powerful if you have the patience for Dreyer's style. B ============ 20. The General (1926) Keaton This first comedy on the list is fun to watch, a great achievement, and has influenced films and comedy for decades. A 21. Ugetsu (1953) Mizoguchi A masterful combination of a dream-like world, utter realism, and technical mastery. A+ 22. Singin’ in the Rain (1951) Donen/Kelly Magnificent scenes - if you can hang on through the cringe-worthy moments. B 23. Battleship Potemkin (1925) Eisenstein An impressive work that is still powerful today. B+ 24. Apu Trilogy/Pather Panchali (1955) Ray Relax into the pace and you'll find this lyrical and universal. A+ 25. The 400 Blows (1959) Truffaut A brilliant debut film from one of the leaders of the French New Wave. A 26. Le Mepris (1963) Godard Audacious, fascinating, yet in the end an experiment rather than a moving film. B 27. Taxi Driver (1976) Scorcese Gritty, compelling, still timely - this is excellent in many ways. A 28. The Bicycle Thieves (1948) De Sica: a world cinema classic and a heartbreaking story. A- 29. Man With a Movie Camera (1929) Vertov: startling, innovative, inspirational. A+ 30. The Passion of Joan of Arc (1927) Dreyer: An amazing achievement—grueling to watch. B 31. L’Avventura (1960) Antonioni: A stunning achievement in modern filmmaking, but it left me in awe but not in love. B ============ 32. Aguirre, Wrath of God (1972) Herzog
A remarkable filmmaking achievement that did not live up to its reputation. B- 33. City Lights (1931) Chaplin A true work of genius on many levels. A 34. Psycho (1960) Hitchcock A groundbreaking film from a master. A 35. Some Like it Hot (1959) Wilder Good, but not as great as many think. B 36. Playtime (1967) Tati The ultimate expression of this master of visual and aural comedy. A 37. Godfather II (1974) Coppola A major letdown from Part I. B- 38. Battle of Algiers (1966) Pontecorvo Powerful, gripping, a must-see. A 39. Night of the Hunter (1955) Laughton Southern gothic fairy tale. A+ 40. Fanny and Alexander (1984) Bergman Universally loved, but only "Liked" by me. B 41. Barry Lyndon (1975) Kubrick Beautiful filmmaking, emotionally distant. B 42. Shoah (1985) Lanzman I've skipped this film in my study due to its massive length and the difficulty of finding a viewing source. I will return to it later. ============ 43. Mirror (1974) Tarkovsky Unconventional experiment that for me had too many false steps. B 44. Touch of Evil (1958) Welles Masterful film noir. A 45. Rear Window (1954) Hitchcock A rare film where all the aspects are fantastic. A+ 46. Mulholland Drive (2001) Lynch An amazing, deep film but not a strong connection for me - yet. B 47. A Man Escaped (1956) Bresson A gripping story in its way, yet left me a bit cold. B+ 48. Lawrence of Arabia (1962) Lean A great, cinematic experience. A- 49. Pickpocket (1959) Bresson An existential, lost soul is redeemed by love, but it seems inauthentic. B ============ 50. Andrei Rublev (1966) Tarkovsky Interesting filmmaking, but I found it did not work for me. C. 51. La Grand Illusion (1937) Renoir A masterwork of world cinema. A+ 52. The Seventh Seal (1957) Bergman ~ Oft ignored today, I found it still vital and compelling. A- 53. Amarcord (1972) Fellini Sweet, nostalgic, but not amazing. B+ 54. Viridiana (1961) Buñuel Audacious and irreverent. B+ 55. Come and See (1985) Klimov A brutal, impressive, must-see film. A 56. Goodfellas (1991) Scorcese A masterpiece, but a difficult watch. A- 57. The Apartment (1960) Wilder A great film from one of the best of directors. A 58. Sunset Boulevard (1950) Wilder Simply incredible on every level. A+ 59. Ali: Fear Eats the Soul (1974) Fassbinder Quietly brilliant. A 60. Blade Runner (1982) Scott Profound, gripping, influential. A+ 61. The Wild Bunch (1969) Peckinpah A great film that stands the test of time well. A ============ 62. Late Spring (1949) Ozu A subtle, profound masterwork. A+ 63. M (1931) Lang Classic greatness that was an influence on many genres. A 64. Chinatown (1974) Polanski A well done, entertaining neo noir that I really liked but did not quite love. A- 65. Un Chien Andalou (1928) Buñuel Fascinating, audacious, irreverent, fun. A+ 66. In the Mood For Love (2000) Wong Kar-Wei A modern masterpiece. I wanted the characters to have the courage to pursue happiness, but they could not take that step. A 67. Blow Up (1966) Antonioni This sixties sensation fell flat for me. B- 68. A Woman Under the Influence (1974) Cassavetes - A famous, influential indie movie that did not connect at all. C 69. The Shining (1980) Kubrick Still a fun, innovative movie. A- 70. Badlands (1973) Malick An interesting but unengaging experiment. C 71. Close-Up (1989) Kiarostami This was a completely uninteresting for me. D 72. Stalker (1979) Tarkovsky Fascinating psychological experience in a semi-science fiction wrapper. A 73. The Gospel...St. Matthew (1964) Pasolini Profoundly uninteresting and banal. D 74. Modern Times (1936) Charlie Chaplin A beautiful finish to the silent era and The Tramp. A ============ 75. Metropolis (1927) Lang influential, with amazing aspects, but not totally satisfying as a film. A- 76. The Tree of Life (2011) Malick A profound meditation on the meaning of life that is almost a magnificent achievement. A- 77. Children of Paradise (1945) Carne One of the best French films of all time. A+ 78. Three Colors Trilogy: Blue, White, Red (1993-1994) Kieslowski A masterpiece of humanistic filmmaking. A+ 79. The Leopard (1963) Visconti A towering achievement of world cinema! A+ 80. La Maman...Putain (1973) Eustache Not for me—a 3 1/2 hour slog of disinterest. D 81. Journey to Italy (1954) Rossellini An interesting, influential film. A 82. Gertrud (1964) Dreyer Like Dreyer's other films, a profound, thought-provoking experience for the patient viewer. A 83. L'Eclisse (1962) Antonioni A fascinating, interesting, experimental film, but not an all time favorite. B+ 84. Once Upon a Time in the West (1968) Leone Brilliance, but with too many false steps. B- 85. One Flew Over the Cukoo's Nest (1975) Forman Not as amazing as I remembered. B ============ 86. Ikiru (1952) Kurosawa Among the elite works of world cinema. A+ 87. Sansho the Bailiff (1954) Mizoguchi Masterful, almost the equal of his Ugetsu. A+ 89. Rio Bravo (1959) Hawks A good western; less than the sum of its parts. B+ 90. The Third Man (1949) Reed A world cinema masterpiece. A+ 91. Nashville (1975) Altman A Amazing, innovative work that slowly grows on me. 92. The Life and Death of Colonel Blimp (1943) Powell & Pressburger A sentimental favorite for me; one of the greatest of British films. A+ 93. The Earrings of Madame de... (1953) Ophuls A great film that is somewhat overlooked today. A 94. Last Year at Marienbad (1961) Resnais An interesting, surreal, puzzle. B 96. Pierrot le Fou (1965) Godard Interesting, but too hit or miss. B- 97. Blue Velvet (1986) Lynch An unsettling film, masterfully made. B+ 98. The Good, the Bad, and the Ugly (1966) Leone There is greatness to be found here, but it's marred by excess that has not aged well. B 99. Jaws (1975) Spielberg Iconic, thrilling, suspenseful, influential A 100. Casablanca (1942) Curtiz This famous film lived up to its reputation. A+ 101. Jules et Jim (1962) Truffaut I was really let down by this one; no connection for me. C 102. Mouchette (1967) Bresson Well made, but heartbreaking to watch. B 103. Notorious (1946) Hitchcock One of Hitchcock's greatest. A+ |